Matthy Groves- Norton (NC) c.1920s from Sheila Kay Adams
[Music for Sheila Kay Adams from Digital Appalachia: http://dla.acaweb.org/cdm/singleitem/collection/berea/id/398/rec/12.
Below are several versions and information. Sheila Kay Adams, a traditional singer and banjo player from Madison County, North Carolina learned her version from aunt Dellie Chandler Norton. Another local version with the same title although spelled differently is "Mathie Grove" by Dillard Chandler.
Listen to Dellie Chandler Norton on youtube:
http://www.youtube.com/watch?v=OPdNTYZ5L3k&feature=related
The Wallin family (Cas wallin was Adams' counsin) extended beyond Lee & Berzilla within their generation. Berzilla’s sister, Dellie Chandler Norton (1898-1993), sang the old, unaccompanied ballads and love songs passed down from her family and other members of the community. Not only was she a singer, she was also a mentor to many in both her family and the wide community. Dellie was visited by scholars and music lovers and helped the younger generation learn and preserve the old ballads
28. Lord Daniel (Child 81, Roud 52)
(Sung by Cas Wallin at his home in Sodom Laurel, Madison County, NC. 27.8.80)
Spoken: I'm gonna sing an old-timey song, Lord Daniel. Way back, I've heard it all my life.
First come down was dressed in red.
And the next come a-down was green.
Next come a-down Lord Daniel's wife,
She's as fine as any queen, queen,
Just as fine as any queen.
She stepped up to little Mathie Grove,
'Come home with me tonight.'
'I really know by the ring you wear,
You are Lord Daniel's wife, wife,
You are Lord Daniel's wife.'
'It makes no difference who's wife I am,
For you or no other man.
My husband's away, he's away from home,
He's in some distant land, land,
He's in some distant land.
Little Robert Ford was standing nigh,
He's a-hearing every word was said.
'If I don't die before daylight,
Lord Daniel will hear these words, words,
Lord Daniel will hear these words.'
Spoken: He busied hisself, didn't he?
He had a-fifteen miles to go,
Ten of them he run.
Run 'til he came to the fell-down bridge,
And he fell on his breast and swam, swam,
He fell on his breast and swam.
He run 'til he came to Lord Thomas's hall,
He jingled on the bell.
'What's the matter?' Lord Thomas said.
'What's a-making you ring?'
'There's a man in the bed with your true-love,
There's gonna be some old huggin' done, done,
There's gonna be some old huggin' done.
He got him up a few good men,
And started with a free good will.
Placed his bugle to his mouth,
He blewed it loud and shrill, shrill,
He blewed it loud and shrill.
'Let's get up,' little Mattie Grove said,
'Let's get up, put on our clothes.
I hear your husband a-coming home,
I heard his bugle blow, blow.
I heard his bugle blow.'
'Lie down, lie down, lie down,' she says,
'Lie down, go off to sleep.
Nothing but my father's shepherd,
A-calling for his sheep, sheep,
A-calling for his sheep.'
From that they both fell a-huggin' and a-kissing,
And they both fell off to sleep.
When they awoke at the break of day,
Lord Daniel was at their bed feet, feet,
Lord Daniel was at their bed feet.
'Get up, get up, get up,' he says,
'Get up and put on your clothes.
Never wanted it to be said,
That a naked man I slew, slew,
That a naked man I slew.'
'How can I get up?' he says,
'How can I put on my clothes?
There you stand with two glittering swords
And me not as much as a knife, knife,
And me not as much as a knife.'
'Oh yes I have two glittering swords,
They cost me deep in pearl.
But I'll give to you the best
And I will take the worst, worst,
And I will take the worst.'
'You can have the very first lick
And strike it like a man.
I will take the very next lick,
I'll kill you if I can, can,
I'll kill you if I can.'
Little Mathie Grove struck the very first lick,
He struck an awful blow.
Lord Daniel took the very next lick,
He laid him on the floor, floor,
He laid him on the floor.
He took his little bitty wife on his lap,
And he look-ed straight at her.
Says, 'Which one of the two do you like the best?
Little Mathie Grove or me, me,
Little Mathie Grove or me?
'Very well do I like your red rosy cheeks,
Much better do I like your chin.
But I wouldn't give little Mathie Grove
For you and all your kin, kin,
For you and all your kin.'
He took his little bitty wife by the hall (sic)
He led her through the hall.
He took his sword and he cut off her head,
And he kicked it against the wall, wall,
And he kicked it against the wall.
'Dig my grave in the meadow.
Dig it wide and deep.
Bury little Mathie Grove in my arms,
Lord Daniel at my feet, feet,
Lord Daniel at my feet.'
Songcatcher Clip
http://www.youtube.com/watch?v=aTZLw5b1Qws
MATTHY GROVES
Emmy Rossum as learned from Shiela Kay Adams
.G A A C A C C Å
.G A A C D D-E
E E A A C D E E D
C A .G .E A C, D
C A .G .E.G A
Oh holiday, oh holiday,
The first day of the year
Little Matthy Groves to church did go
Some holy word to hear, hear,
Some holy word to hear.
She step-ped up to little Matthy Grove,
Her eyes kept on the ground,
Oh please, oh please come with me, say,
As I go through this town, town...
...
Oh what is this, said little Matthy Groves
As he sat up in bed,
I fear it is your husband's man
And I will soon be dead, dead...
But little Matthy Groves he lay back down
And soon fell fast asleep,
When he woke up Lord Daniels
Was standing at his bed feet, feet...
Saying how to you like my snow white pillow,
Saying, how do you like my sheet?
Saying, how do you like my pretty woman
That's a-layin' in your arms asleep, sleep...
The first swing that little Matthy made,
It hurt Lord Daniels sore,
The next swing that Lord Daniels made,
Little Matthy couldn't fight no more, more...
Adams' version, of course, fills out the missing pieces. My sentiment when I first saw the film, and it's still my sentiment now, is that I wish somebody would convince both Emmy Rossum and Iris DeMent to make innumerable CDs of traditional songs. They are two of the finest traditional voices alive today.
Of course that's impossible. Emmy, as shown by her more recent films, is a songstress of decidedly stage-style and popular talent who only visited traditional song on her way up...and Iris has her country singer's career to nourish. We're left to cherish immortal moments that are chopped and channeled to fit a film.
Still great, though. And DeMent fully justifies her film attribution as "Mrs. Gentry" -- a reference to Jane Gentry, the great North Carolina ballad singer recorded by Cecil Sharp, whose songs I mostly know from meeting and recording her daughter, Maud Long, in Hot Springs in 1955. DeMent is in her league as a singer, which is high praise indeed.
Bob Coltman [post on Mudcat]
--------------
Sheila Kay Adams
A Spring in the Burton Cove
Granny Dell Records GDR-1210 (cassette)
This cassette contains 12 songs, 2 of which are own compositions, and one instrumental.
Sheila is a traditional singer and banjo player from Madison County, North Carolina who grew up in a community of ballad singers and musicians. She learned many of her songs from her elder relatives, including the renowned Wallin and Chandler families. She is a seventh generation singer and can trace her family's musical tradition back to the 1700s. Cecil Sharp collected songs from her forebears. A particular influence of hers is her great aunt Dellie Chandler Norton,who taught her many of the old songs and stories.
With such an impeccable ancestry of traditional music, one would expect a good album and this cassette does not disappoint. Sheila sings in a way that is unmistakably Appalachian and yet without some of the mannerisms of other singers. She has a fine, clear expressive voice and her frailing banjo style complements it perfectly. The cassette starts off with a rendition of Little Farmer Boy, a song usually known as the House Carpenter and common throughout the Appalachians. Sheila sings it with expression and a good feel for the dramatic narrative, sustained throughout the long ballad. This song, and her version of Little Mathy Groves, also on the cassette, were both learned from her great aunt Norton. Her version of The Girl I left behind (not the Brighton Camp one) is similarly well rendered, and is a ballad that deserves to be better known.
A particular favourite of mine is Little Betty Ann, a fiddle tune and song that Sheila sings and plays on the banjo. The banjo playing, influenced by Dwight Diller, the doyen of West Virginian banjo players, is simple and unhurried yet precise and a delight to hear. The two gospel songs on the cassette Camp a Little While in the Wilderness and Jerusalem Mourn form a contrast, the first being slow and sultry and the second upbeat and humorous. Sheila's own compositions You Make me Believe in Love Songs and Granny's Song, are uncomplicated but heartfelt, with some nice touches in the lyrics.
To sum up, this is a very competent album from an excellent singer who is obviously steeped in her local and tradition and very proud to carry that tradition forward.
Little Mathey Groves
Sheila Kay Adams, What Ever Happened to John Parrish's Boy? – Granny Dell Records 1221, 2001.
Oh holiday, oh holy day
The first day of the year
Little Mathey Groves to church did go
Some holy words to hear, hear
Some holy words to hear
He spied some women dressed in black
As they came into view
Lord Daniel's wife was gaily clad
The flower of the few, few
The flower of the few
She step-ed up to Little Mathey Groves
Her eyes cast on the ground
Said, "Please, oh please, come with me stay
As you pass through this town, town
As you pass through this town"
Oh please, oh please come with me stay
I'll hide thee out of sight
I'll pleasure you beyond compare
And sleep with you all night, night
I'll sleep with you all night
I cannot stay, I dare not stay
I fear t'will cost my life
Cause I can tell by your finger rings
That you are Lord Daniel's wife, wife
That you are Lord Daniel's wife
Lord Daniel's in some distant land
He's left me for to roam
He's taken all his merry men
And I am quite alone, 'lone
And I am quite alone
Her little footy-page was a standing near by
Was a hearing every word was said
He said, "Before the sun goes down
Lord Daniel'll know what's said, said
Lord Daniel'll know what's said"
He ran along the king's highway
He swam against the tide
And before the sun went down
He's standing at Daniel's side, side
Standing at Daniel's side
"What news, what news," Lord Daniel cried
"What new do you bring to me?
My castle's burned, my tenants wronged
My wife with a baby, be
My wife with a baby"
No harm has come to your house or lands
While you have been away
But Little Mathey Groves is a hugging and a kissing
On your fair lady gay, gay
Your fair lady gay
If what you say is not the truth
As I take it to be
I'll build a scaffold tower so high
And hang-ed you will be, be
Hang-ed you will be
If what I say is not the truth
And false as false can be
You need not build a scaffold tower
Just hang me from a tree, tree
Hang me from a tree
Lord Daniel called his merry men
And bid them with him go
But warned them not to speak a word
And not a horn to blow, blow
Not a horn to blow
But riding with his merry men
Was one who'd wish no ill
He popped his bugle to his mouth
And he blew it loud and shrill, shrill
Blew it loud and shrill
"Oh what is this?" cried Little Mathey Groves
As he sat up in the bed
"I fear it is your husband's men
And I will soon be dead, dead
And I will soon be dead"
Oh lay back down, Little Mathey Groves
And keep my back from cold
'Tis nothing but my father's men
Calling their sheep to fold, fold
Calling their sheep to fold
So Little Mathey Groves, he laid back down
And soon fell off to sleep
When he woke up, Lord Daniel was
Standing at his bed feet, feet
Standing at his bed feet
Saying, "How do you like my snow white pillows?"
Saying, "How do you like my sheets?"
Saying, "How do you like my pretty little woman
That's a laying in your arms asleep, sleep
Laying in you arms asleep?"
Very well do I like your snow white pillows
Very well do I like your sheet
Much better do I like your pretty little woman
That's a laying in my arms asleep, sleep
Laying in my arms asleep
"Get up, get up," Lord Daniel cried
"And put on your clothes
In England it shall never be said I
Killed a naked man, man
Killed a naked man"
I won't get up, I can't get up
I fear t'will cost my life
Cause you have got two bitter swords
And I ain't got a knife, knife
I ain't got a knife
I know I've got two bitter swords
They cost me deep in purse
I'll give to you the best of these
And I will keep the worst, worst,
I will keep the worst
The first swing that Little Mathey made
It hurt Lord Daniel sore
The next swing that Lord Daniel made
Little Mathey hit the floor, floor
Little Mathey hit the floor
Get up, get up, my pretty little wife
And come sit on my knee
And tell me which you liked the best
Little Mathey Groves or me, me
Little Mathey Groves or me
She looked up in Lord Daniel's face
And saw his jutting chin
Said, "I wouldn't trade Little Mathey Groves
For you and all your kin, kin
For you and all your kin"
He took her by the lily white hand
And led her across the hall
He pulled out his sword and cut off her head
And he kicked it against the wall, wall
Kicked it against the wall
Go dig me a grave both wide and deep
To bury these two in
Just kick little Mathey Groves over the side
But lower my sweet wife in, in
Yes, lower my sweet wife in
--------------
Donna Ray Norton: Singing ballads is a family tradition
By Morgan Simmons
Published on Wednesday Feb. 27, 2008
MARSHALL, N.C. — Donna Ray Norton sat on her living room couch, folded her hands in her lap and started to sing.
The song was "Little Mathey Groves," a 17th century English folk ballad that describes an adulterous affair between the wife of a nobleman and her husband’s servant. Before the song is over, the jealous husband will decapitate his wife and kick her head around like a soccer ball.
Like so many traditional mountain ballads, the tale ends in bloodshed.
The song stretched on for five minutes, and Norton sang every word with her eyes closed.
"I shut my eyes to imagine the story," Norton said. "Plus, I’m afraid if I look around, I’ll see someone yawning or scratching their nose, and I’ll forget the words."
Norton, 26, is from Madison County, N.C., a region known for its rich tradition of unaccompanied ballad singing.
The granddaughter of the legendary fiddler Byard Ray, Norton grew up surrounded by singers and storytellers, most notably her mother, Lena Jean Ray, and her cousin, Sheila Kay Adams.
"Some people’s families are ballerinas or football players," Norton said. "My family has been singing ballads for eight generations. This is what we do."
Two years ago Norton gave her first concert at Warren Wilson College, near Asheville, N.C. Singing solo, she performed for a full two hours.
Since then Norton has toured with the North Carolina Symphony, and has appeared in "Madison County Project," a documentary short about ballad singing and film making in Madison County.
And last summer she took her first trip on an airplane to teach a workshop on ballad singing in Berkley, Calif., where the students marveled at her mountain accent.
"Ballad singing can be is scary," she said. "If you mess up, there’s no safety net.
"But when I close my eyes, I can visualize the story, and the words just fall into place."